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Sebastian Sanjurjo

3,0 sur 5 étoilesThe Beginining Of The Fall Of Lord Steven Seagal

27 juillet 2008 - Publié sur Amazon.com

Achat vérifié

I guess Seagal wanted to be a little like Eastwood here; giving a more forensic approach to his movies, a little twist here and there...and why not a little of Seagal's special recipe of bone crushing formula, it wont due any harm...right?..Wrong, this movie is the perfect example of Segal's downfall from stardom. Since Seagal isn't as thin or as fast as he used to be, he needs a co-star to have a little more screen time so Seagal can catch his breath and eat little more doughnuts. Seriously Seagal hit top bottom after this, with the exception of Fire Down Below and Exit Wounds, all of Segal's future movies following that sucked.

In Glimmer Man Seagal plays Jack Cole, an Ex government intelligence operative known as "The Glimmer Man," because he could move so quickly and quietly that his victims would only see a glimmer before they died. in fact that is so BS, Segal moves slower than his previous movies here, his gut is beginning to grow and his acting is stale and wooden. anyhow back to the movie, Cole is assigned to work with An L.A. police detective named Jim Campbell (Keenen Ivory Wayans) they are both on the look for a serial killer known as the "Family Man" he is given that name because...well he kills families; and aside from killing them he tortures and crucifies them after their deaths. After a string of murders the killer gets personal, he kills Coles wife..and you know what that means...that's right...its payback time, but it seems that this killings are beginning to get weird, there is a copycat making the murders look like "the Family Man"....now the question is Who is the killer, the "family man or the copycat?

Along with these psychos we have a local crime boss doing dealings with the Russians, somehow its all connected and don't expect a clever twist because there really isn't. I give them credit for adding some suspense here and there, but Segal doesn't belong in this movie, he feels out of place. The only good actors in this movie are Keenen Ivory Wayans and Brian Cox. So yeah, rent it or wait for it to be shown on cable, but don't buy it, not worth it.

5,0 sur 5 étoilesI thought that Steven Seagal was at his best in this movie

31 juillet 2015 - Publié sur Amazon.com

Achat vérifié

I thought that Steven Seagal was at his best in this movie. He was a lot funnier than he was in his previous movies and his fight scenes were more realistic than in some of his other movies. Wayans was also a great actor. I thought the cast was excellent and the plot was interesting. This movie was a lot of action and fun, and I'd recommend this movie to those who liked Seagal in other movies.

I regard this movie as the beginning of the first downward spiral of Seagal's career. After the epic action of Under Siege 2: Dark Territory [Blu-ray] and Executive Decision it was a bad mistake to sign-up for The Glimmer Man. When I went to the cinema to see this film on November 2nd 1996 they didn't even tear my ticket stub. Of the thousands of cinema tickets I've kept it's the only one that hasn't been torn. Not even the employees of the long-gone ABC Cinema could be bothered keeping tabs on the audience. Needless to say that the film wasn't screened for critics and every review in the papers that week was nothing but waffling on presumptions of what a typical Seagal film would be. I am making up for that now with a proper review.

The fundamental flaw in The Glimmer Man is that it's just far too contrived. The 80s 'mis-matched cops' cliché didn't help either. Plus, the film was yet another Seven [Blu-ray Book] wannabe, a sub-genre that flooded cinemas post October 1995.

Seagal plays Jack Cole, a weirdo New York cop transferred to Los Angeles for reasons that are never clearly defined. He's teamed-up with wisecracking Detective Jim Campbell (Keenan Ivory Wayans, who did not like Seagal) to catch 'The Family Man'; a serial killer who crucifies families (actually just the parents). But things get a little too personal for Cole when his ex-wife is killed by a Family Man copycat because she was the psychiatrist of the high school kid he saved who had discovered his evil step-dad's plan to sell chemical weapons sold by the Russian Mafia and brokered by the CIA, who Cole used to work for.

It's very poorly written by Kevin Brodbin, himself a former film critic, so he ought to have known better. This wouldn't be so bad if the fight scenes were remotely impressive. There are a couple of good action moments, like Campbell's apartment fight, but the rest are very quickly edited to compensate for Seagal's decreasing suppleness and rapidly expanding waistline. And after the high adventure of his previous movies, going back to low-wattage bar fights and gun play just isn't exciting.

Unknown director John Gray (who?) shoots the film like a TV movie. You'd be forgiven for thinking that this was an average episode of CSI:New York. He tries to mimic the retro-noir look of Se7en with lots of gloomy locations and rain but it just gives the film a really oppressive feel.

It's obvious that Seagal's influence on the script made it to the screen. As usual there's mumbo-jumbo about Cole's mysterious past (something Seagal both pretends AND denies he has). The mystical Buddhist stuff really adds nothing, you can see right through it to Seagal's unnecessary pandering, and what exactly is the deal with those jackets? Definitely from Seagal's own wardrobe and strategically chosen to conceal the Belly the of the Beast.

There's some decent acting to be had outside of Seagal's non-effort. Wayans proves he's more capable of being an action than the rest of his family (and Seagal too) and Brian Cox (a last-minute replacement for Tommy Lee Jones who probably said 'oh no, not Seagal again' and fled) plays the same old dodgy CIA buffoon he's built half his career on.

If you can get around the uninspired, gibberish title and if you are suffering a serious deficit in better action movies then give it a go. Just don't bother with the horribly censored UK cut, butchered by the BBFC.